MUSIC 12BZ: Introductory Piano Class
This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3) Please visit
http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information. Zero unit enrollment option available with instructor permission. See website: (
http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
Instructors:
Zerlang, T. (PI)
MUSIC 12C: Introductory Piano Class
This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3.) May be repeated for credit a total of 14 times. Please visit
http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (
http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
Instructors:
Zerlang, T. (PI)
MUSIC 12CZ: Introductory Piano Class
This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3) Please visit
http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information. Zero unit enrollment option available with instructor permission. See website: (
http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
Instructors:
Zerlang, T. (PI)
MUSIC 17AX: Key-Notes: A Piano and Voice Exploration
The objective of the course is to teach piano, improve music reading skills and music theory knowledge. The course is designed for a multi-level class room, so complete beginners and intermediate pianists can learn in this self-paced course. There will be an element of course tailoring for the needs of individual student.<br><br>Goals and objectives of the class are: to learn/improve keyboard technique: fingering, hand position, touch etc., to improve sight reading and sight singing skills, to play examples of classical, jazz and popular piano literature, to participate in ensemble playing and singing.<br><br> Since this is a skills-based course, ongoing work daily and regular class attendance will be essential.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
Instructors:
Catsalis, M. (PI)
;
Liupaogo, B. (PI)
MUSIC 17P: Keyboard Explorations
This course is designed for students who want to further their skills in music, whether experienced on the piano or not. The class will be divided into groups according to experience level. Whatever the level of their previous experience, students will improve their keyboard musicianship via both solo and ensemble repertoire. Students will perform live in different settings and also - as a final project - integrate texts or images in a recording of their playing.
Terms: Aut
| Units: 1-2
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 2 units total)
Instructors:
Catsalis, M. (PI)
MUSIC 17PZ: Keyboard Explorations
Zero unit enrollment option available with instructor permission. See website: (
http://music.stanford.edu) for policy and procedure. This course is designed for students who want to further their skills in music, whether experienced on the piano or not. The class will be divided into groups according to experience level. Whatever the level of their previous experience, students will improve their keyboard musicianship via both solo and ensemble repertoire. Students will perform live in different settings and also - as a final project - integrate texts or images in a recording of their playing.
Terms: Aut
| Units: 0
| Repeatable
4 times
(up to 0 units total)
Instructors:
Catsalis, M. (PI)
MUSIC 18A: Jazz History: Ragtime to Bebop, 1900-1940 (AMSTUD 18A)
From the beginning of jazz to the war years.
Terms: Win
| Units: 3
| UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II
Instructors:
Low, M. (PI)
;
Haines, Z. (TA)
MUSIC 18AX: Audiovisual Performance
The unification of music and visual arts has been attempted throughout history, opera being one example. In the 20th Century, sounds and moving images have been syncretized in various art forms, such as film or video art, as well as in popular culture (television, music video, the Internet, etc.). Today, with fast technological developments and the convenience of hardware/software tools, media artists employ both sonic and visual elements in their performance practice. What are the interrelations between music, video, and themselves as performers. Students will perform with music and video in synergy. The course explores various theories and practices of engaging audiovisual media in the context of stage performance. Examples come from the scenes of experimental music and multimedia performance. Other audiovisual categories to be approached: avant-garde film, visual music, video art, music video, etc. Readings, listening-viewings, discussions, and analyses of relevant works will provide a conceptual framework. Labs and assignments will give students hands-on experience in crafting and performing their own audiovisual works. The course culminates with a public show.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
Instructors:
Basica, C. (PI)
MUSIC 18B: Jazz History: Bebop to Present, 1940-Present (AFRICAAM 18B, AMSTUD 18B)
Modern jazz styles from Bebop to the current scene. Emphasis is on the significant artists of each style.
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II, GER:DB-Hum, GER:EC-AmerCul
Instructors:
Low, M. (PI)
;
Koplitz, D. (TA)
MUSIC 18N: Musical Dishonesty: Fakes, Forgeries, Counterfeits, Hoaxes, Deceptions, Illusions, and Artifice
Dishonesty is everywhere. Is anything still honest? To answer we examine the myriad types of musical dishonesty, some harmless and fanciful, others deliberate and pernicious: artfully misleading deceptive cadences and fake endings; evident frauds (the fictional band Spinal Tap) and purposely obscured ones (the lip-syncing of Milli Vanilli); psychoacoustic illusions (infinitely ascending Shepard tones); biographical deceptions of "dangerous" rappers and metal bands; fake Mozart manuscripts; ghost composers and AI generated music; the question of sampling; self-mythologized artists from KISS to P-Funk; and so on. Students will also explore examples beyond music, such as current political events and contemporary conspiracy theories.
Terms: Aut
| Units: 3
| UG Reqs: WAY-A-II
Instructors:
Applebaum, M. (PI)
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